歌剧《费加罗的婚礼》中伯爵的艺术形象及演唱体验

发布时间：2018-05-29 17:11

本文选题：《 + 费加罗的婚礼》　；参考：《上海音乐学院》2017年硕士论文

【摘要】：《费加罗的婚礼》是"费加罗三部曲"中的第二部剧作,写于1 778年。该剧又名《狂欢的一日》是莫扎特第一部成熟的喜歌剧作品,根据法国戏剧作家博马舍的同名喜剧改编而成。剧中愚蠢而放荡的伯爵与聪明机智的费加罗形成鲜明的对比。作为歌剧中反面人物的代表,伯爵所代表的贵族阶级一改往日光辉形象被刻画成虚伪、好色的反面形象。本文从该剧背景与剧情、中心思想及伯爵的音乐形象分析、伯爵一角的演唱体验这三个方面综合分析伯爵这一主要角色。通过对该角色的细致分析得出结论:歌剧《费加罗的婚礼》的核心思想就是反封建性。
[Abstract]:Figaro's Wedding is the second play in the Figaro trilogy written in 1778. The play, also known as Day of Carnival, is Mozart's first mature opera, adapted from a comedy of the same name by French dramatist Bohmatcher. The silly and debauchery count in the play contrasts with the clever and resourceful Figaro. As the representative of the villain in the opera, the noble class represented by the count was portrayed as a false and lust negative image. This paper analyzes the main character of the Earl from three aspects: the background and the plot, the central idea and the music image of the Earl, and the singing experience of the Earl. The conclusion is that the core idea of opera Figaro's wedding is anti-feudalism.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J617.2

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